In West Java there are a variety of Sundanese culture, there are at least 300 types of art that ever lived in the community. Along with the social development of Sundanese society, especially since the entry of various other cultures, the art began to fall, even some have disappeared altogether.
Many factors, both internal and external, led to the loss of the artistry. The opening of people's lives to the outside world, which is characterized by advances in the field of transport and communication such as the internet, has made a world without cultural borders.
A global culture capable of eroding the localities of every ethnicity, anywhere. Various new values also seeped up to remote areas. Everyone knows that not all new values are positive. If the community does not have a strong filter, then the new values that are negative can certainly memporakporarkan old values that are positive and have existed.
Therefore, if it is mentioned that the documentation, development and development of art, one of which aims to preserve the cultural value of the nation, then in another form, art can be used as a tool of cultural resilience.
Based on the latest records from the Department of Culture and Tourism of West Java, currently there are about 34 types of art that are still preserved and live in the midst of society. Among them, there is the art of Longser, a folk theater that lives and develops in Bandung.
In addition to Longser, in West Java there are several other types of traditional theaters, such as Uyeg from Sukabumi, Ubrug from Banten, Matres from Cirebon, Tarling from Cirebon, Banjet mask from Karawang, and so on. Each type of art has its own characteristics, both from the way of staging and equipment used.
When compared to other regions, Longser has similarities with Lenong and Srimulat. The difference is, until now Longser uses Sundanese to communicate with the audience. One characteristic is the presence of Ronggeng, dancers and singers who are able to attract the attention of the audience. Ronggeng used to dance to the accompaniment of Sundanese songs tap tilu type.
Longser and its development
There is no accurate record, since when Longser actually became part of The Art in Tatar Sunda. Even the word Longser does not have a clear definition. There are those who think that the word Longser is short for” long “(See, look) and” ser " (word to indicate a sexual desire or passion). But that is not the only definition that can be justified.
The form of longser performances, like Lenong Betawi, was built from several important parts that characterize the art. A longser performance is usually equipped by nayaga (musician), players, bodor (comedian), and Ronggeng (dancer and singer) which serves its own attraction for the audience.
At the time of staging, the players build a story to be presented to the audience. In the beginning, the story in Longser is composed shortly before the game starts. That is, without a clear scenario, so that sometimes the content of the story becomes less focused and more likely to be humoristic.
As a folk theater, Longser was staged in the midst of an audience. In fact, at the beginning of its development, Longser was almost never staged on a stage that was arranged in such a way. Where there are spectators, there is a longser held; whether this place is a square, a terminal, a station, or even on the roadside.
Tracing the history of Longser, it will not be separated from the name Bang Tilil (his real name Akil), known as the figure of Longser. In the period 1920-1960, Longser Bang Tilil reached its peak of glory. Longser Bang Tilil present as a communicative folk entertainment media.
The fame of Longser Bang Tilil, has triggered other artists to establish separate groups; among them Longser Bang Soang, Bang Timbel, Bang Cineur, Bang Kayu, and so on. In addition to Longser Bang Tilil, one of the Longser groups that is quite famous is Longser Pancawarna led by at Tentyng Japar (never studied to bang Tilil). Pancawarna was established in 1939, and still exists today despite declining productivity.
There is a division of the show area between Bang Tilil with Ateng Japar. Bang Tilil control the area of Bandung City performances (station, Alun-alun, Tegal Lega, Cicadas, Andir, Cikawao and other areas in the city of Bandung).
While Longser ateng japar control areas outside the city of Bandung (Pangalengan, Cililin, Banjaran, Soreang, and others). As a result of Japanese colonization, many longser artists were displaced. Their practical art activities receded ever since.
Only in 1952, when Ateng Japar returned to Bandung from his shelter in Garut, Longser again filled the entertainment space for the people of Bandung and its surroundings.
Longser art difficulties to survive was still experienced. This is due to the spatial planning policy of Bandung, including its expansion. As a result, some genres of folk performing arts, which at that time were part of their society, also had difficulty living. Slowly the area of the Longser Bang Tilil show was shrinking and finally receded. Especially after Bang Tilil died, punahlah longser led.
Meanwhile, Longser Ateng Japar still exist around the area of the show, although no longer as in its former glory. Today, Longser ateng japar no longer has a definite show territory. Even from day to day it is receding, although it cannot be said to be extinct at all.
Longser ateng japar no longer perform traveling performances, and only fulfill the call to foster the appreciation of the arts students or for entertainment for agencies that consider Longser still worthy of entertainment material. Later Longser Ateng Japar stripped the integrity of the show and willing to fulfill the call for celebration.
Longser it only has a type of dance tap tilu and jaipongan, played on a stage with Bodor alakadarnya equipment. In fact, generally longser played in AR open AR, fused jeung audience. Indeed, recently, Longser is often played on a stage, both outside the building and inside the art building.
But according to WA Kabul, leader of Longser Ringkang Gumiwang, the issue of place depends on conditions. Legitimately Longser played on stage, like any other theatrical art.
Originally Longser had a certain show time, which was at night, between 20.00 to 22.00. But today there are also many Longser arts that are played during the day.
Communicative Longser
The costumes and the theme of the story are different, an adjustment to the current situation. According to WA Kabul, the story and language used on Longser is only a function to be conveyed to the audience. Currently the longser players still use Sundanese communicative, although in some performances there are also using Indonesian.
Longser is built by players who are inseparable from each other. Even in Longser Bang Tilil, many longser players have a "dual role"” One day he had to become a nayaga (musician), but suddenly he joined the other players and took part in acting.
In addition to accompanying the performance, the nayaga was tasked to “tatalu” (beat the gamelan) in order to invite the attention of the audience. Before the event began, gamelan had been beaten while waiting for the players to prepare the story to be presented.
Ronggeng
Ronggeng is known as a dancer and singer in the art of Longser. Many think obliquely on this one figure, that Ronggeng is a seducer woman with a dance as a thinker. This assumption makes some longser dancers currently reluctant to be called Ronggeng.
Though Ronggeng has a very important role in the art of Longser. It has its own charm, and will feel bland if Longser is not equipped by Ronggeng.
After nayaga beat the gamelan, and the audience began to come, the game began. Ronggeng in charge of opening the performance with a dance. Equipped with costumes and makeup that is quite striking, ronggeng dancing in the middle of the audience with various types of gamelan nuances.
Some of the dance movements, such as the” insomniac " (a dance with quite erotic hip rocking movements), are enough to make the audience amazed. Well, this attraction is what then makes the audience reluctant to move.
In addition to young Ronggeng, with beautiful and attractive appearance, there is also an old Ronggeng. Ronggeng this one usually displays a hilarious dance that makes the audience out loud.
In a longser performance, Ronggeng was present several times. Moreover, there are many Ronggeng who participate in acting with other players. Some Longser groups have more than one Rong. They danced and sang Sundanese songs in turn. Ronggeng also played a role at the time of” ngarayuda " (asking for alakadarnya donations to the audience in exchange for staging). Ronggeng is quite famous is the Kucrit of the group longs Bang Tilil.
Bodor
One of the characteristics of Longser's art is the presence of bodor or comedian. Bodor was present after ronggeng performed the opening dance. He then danced imitating Ronggeng, with hilarious movements and humorous mimics.
Bodor was in charge of introducing Longser's performing group, using communicative language and often flavored with jokes. If the performance is held in a kariaan, then bodor also expressed the intention and purpose of the kariaan organizer.
After that, bodor asked to dance with Ronggeng. Well, at that time, another bodor appeared and joined the dance. Then they are naturally scrambling Ronggeng. Ronggeng then asked for a fee, and because bodor (pretending) had no money, then they “ngarayuda”, asking for donations to the audience. But there were also spectators who spontaneously threw money into the arena by using a handkerchief or kar cloth.
After that bodor also began to dialogue by lifting a T hychyma that has been prepared. Generally, the theme raised is The Simple Life of Sundanese people. Some players (other than bodor) perform a variety of roles, from RT's chairman to the miserly rich man.
Dialogue
Stories in Longser are generally spontaneity, and script, or even a repetition of other stories that have been staged. The theme of the story was part of everyday life, for example about “bobogohan” (love story) between the poor and the rich. This simple story, often complemented by a funny conflict, and always ends with a happy ending. Sometimes, the story is not finished staged due to natural conditions, such as rain, or because there is no audience.
Recently, the story on Longser was prepared with a screenplay script. But the element of spontaneity and communication with the audience is still preserved.
Longser and simple equipment
Longser is a very popular type of art. Various elements of art combine in Longser, ranging from the art of acting, the art of music, and the art of dance. The equipment used for staging was quite simple.
Costumes, for example, do not use special costumes, but use sehar-day clothes. From the start to come to the staging, never change clothes (except Ronggeng). Unlike now, Longser's costume has been prepared, according to the character to be played.
Ronggeng for example, only wearing kebaya and side with batik motifs. The makeup was simple, although quite "menor" (striking). In the next development, ronggeng fashion uniform. While clothing bodor and other players in the form of shucks, pants sontog, sarong, skullcap or headband.
So do other equipment, using items that are around the staging. When a story requires a chair equipment for example, then the drum can be functioned as a chair.
When the Longser was staged at the AR indoor open, the arrangement of the” stage " was carried out shortly before the start of the event. This means that there is no long preparation like a theater performance.
Referring to the Longser Bang Tilil, staged in the 1950s, the performers and nayaga came in the afternoon, at about four o'clock. They came by using rickshaws as a means of transporting equipment. There is also a Longser group that is not equipped with vehicles.
They came carrying equipment, and stored where Longser would be held, for example at the station. This is to invite the attention of the audience, as a sign that the night will be held longser show.
The types of equipment are gamelan (musical accompaniment); drum, rebab, saron, bonang, panerus, goong and kecrek. Other equipment is a lighting lamp, can be a patromak or oncor/torch (similar). Until now, some Longser groups still use the torch, although only as a symbol because the lighting is already using electricity. As loudspeakers, they use speaker and accu.
The border between the player and the audience is simply using a white line, in the form of chalk powder sprinkled in a circle.
Longser and his future
In accordance with its development, currently Longser has undergone changes. This is a form of creativity to cultivate traditional art to fit the present. Performance venues, for example, today rarely use open arenas, but more likely in art buildings. Even if in an open arena, then built a stage and prepared a few days.
The theme of the story was modified, even focused on a story that flows from beginning to end. Longser's art modification, like other arts, is a form of art development itself. The most important thing is not to disappear the part that characterizes the art.
Like other traditional arts, Longser also experienced ups and downs. Today, as social developments in society lead to modern life, people are reluctant to watch longser's performances. Even the type of art longser was many who do not know it, let alone the younger generation.
This phenomenon was marked by the death of some Longser groups because they already had an audience. Even if Longser performed, only on special events, not based on public demands to get entertainment facilities. Whereas Longser has a social function that presents a picture of people's lives in every era.